3:1 rule and Haas effect?

[mixsit]

but really is 40ms a pure cutoff line? beyond this point is separate and before it is same? or is this more of a gradual thing? if you were blindfolded and placed in a room with people talking in it, you might be able to guess its size roughly. and I don't think your guess would be "not really sure but definitely smaller than 44 feet". your brain would be able to perceive much smaller spaces than that and probably make a good guess on the ceiling height as well. so I still postulate that distance of the mics in the room from various sound sources would cause the brain to perceive the music differently based on how close each instrument is. that the timing differences of each instrument to each other's mics and also from the walls surrounding would all have a huge impact on the perceived "sound" as a whole. that it is the timing in conjunction with the volume which causes the "sound" to take on certain spatial characteristics such as "open" or "boxy".

I think you're on to something there. At least live' in the room we can use the prececence effect to get clarity, size and direction. But not from on a mono mic. Maybe from a coherent stereo pair though?
I thought the limit was down around 20-25ms? I know a strong full bandwidth 40 or 50 or so can sound pretty crispy-crunchy for sure.
Wayne

 

[ofajen]

but really is 40ms a pure cutoff line? beyond this point is separate and before it is same? or is this more of a gradual thing? if you were blindfolded and placed in a room with people talking in it, you might be able to guess its size roughly. and I don't think your guess would be "not really sure but definitely smaller than 44 feet". your brain would be able to perceive much smaller spaces than that and probably make a good guess on the ceiling height as well. so I still postulate that distance of the mics in the room from various sound sources would cause the brain to perceive the music differently based on how close each instrument is. that the timing differences of each instrument to each other's mics and also from the walls surrounding would all have a huge impact on the perceived "sound" as a whole. that it is the timing in conjunction with the volume which causes the "sound" to take on certain spatial characteristics such as "open" or "boxy".

You would benefit from reading "The New Stereo Soundbook", Third Edition, by Ron Streicher. Very readable, covers everything you want to know about stereo and miking in general along with excellent figures and easy to understand graphs about all these effects. Wes Dooley's site has a link to it, but you can Google it, too.

Cheers,

Otto